Hazy Sunshine on Lake Superior

Hazy Sunshine 5.75" x 7.5" Oil

Here is another look out onto the great inland sea that is Lake Superior. It was a cloudless afternoon at the cabin. The sky was faintly hazy and yet the lake sparkled like diamonds. A brilliant contrast to the purplish-brown rock. The small spruce tree hangs tight to this rocky, lichen covered outcropping above Lake Superior. It is battered by the elements but its roots go deep into the cracks in the basalt.

This painting is done on book board primed with three coats of vermilion colored clear acrylic gesso. It give me a nice toothy surface, a little rougher than regular gesso. I started using clear acrylic gesso as a ground for my pastel paintings and find it is also nice for oil.

I will be showing this painting along with several others at the Phipps Center for the Arts in Hudson, Wisconsin. The show will run August 19 to September 26. The opening reception is Friday evening, August 26 from 6:30 to 8:30. More details about the show next week.

Values

Tool Shed at the Cabin Oil, 6" x 7.75"

This is a small study of the tool shed by our cabin. Though done in blues it still reads like a white tool shed in what you know are green woods. Funny how the values are more important than the local color. Proof the eye thinks values are more important.

Evening Painting

Evening is my favorite time of the day to be painting. The light is luminous and the shadows are deep. Best of all, I have to put myself on auto pilot and just paint; no second guessing, no overthinking. Why? The light is fading fast forcing me to make decisions and stay with them. Otherwise I can get caught in the plein air landscape painter's trap of chasing the light.

The painting above was done on my recent trip to Utah. The sun was just setting. Cottonwoods were catching the last direct rays and were lit up to a chome yellow and the field in front of them was still sunny. Everything else was in that sort of early evening mountain shadow where they were gently illuminated by the reflected light from the sky.


The painting above was done another day but also in the early evening. (Actually it is the third painting done the day I painted the two from the last post.) As you can see, neither has much blue in the sky. Just a faint bit in the part farthest from the sun. So the yellow light of the sky is present in the rest of the landscape and influenced my choice of pigments. Doing a bit of forensics will help me remember my instinctive, auto-pilot choices since I foolishly did not take good notes. Now that I'm back home and attempting some studio paintings with these as reference I sure wish I know exactly what I used. Another lesson learned.

Here is a lesson I did learn: The advice that one should always lay out one's palette the same way is smart. When you obey this rule you don't have to wonder if you are dipping into cobalt or ultramarine or violet or alizarin in the dark. Believe me, after the sun goes down, they look alike.

Both paintings were done on gessoed board. The two above each had one coat of regular white acrylic gesso and one coat of clear acrylic gesso. I like the bit of tooth given by the clear acrylic gesso but I have wondered if it causes too much of the paint to be absorbed. I use a bit of odorless solvent but no medium. The result are paintings that dry relatively quickly (a day or two) and have a matte finish except where I have laid on really thick layer of paint.

I took a wonderful workshop from Marc Hanson this summer and have been using his suggested palette with the addition of Ultramarine Violet:

Titanium White, Cadmium Yellow Light, Cadmium Yellow Deep, Cadmium Red Light, Permanent Alizarin Crimson, Magenta, Light Red, Transparent Red Oxide, Ultramarine Blue Deep, Cobalt Blue, Viridian, Yellow Ochre.

This a nice palette for landscapes--especially representational ones.

Last week I went to a lecture by a representative of Gamblin Oil Colors which prompted me to drive to Wet Paint to get some new pigments. Stay tuned!

What I Saw

My husband Eric and I just returned from a trip West to get out annual mountain fix. To accommodate all of the paraphernalia that goes with plein air painting and fly fishing, we drove. It was wonderful. We took a relaxed three days to drive to Utah and returned the same non-rushed way. In the middle he fished and I painted for a week using Park City as our base of operation. On the drive to and from Utah I did small paintings of the scenes along the road in my journal. I'll show some of them in a future post.

We had been to Utah to ski and had seen the state in the Summer but we were not prepared for the glory of Utah's Fall. Or the great fishing! The maples had turned a fluorescent red and the aspens were starting to yellow. The color is almost too much for a landscape painter to deal with. Frankly, it just doesn't look real. Painting it risks going down the road of sentimentality or cliche. As it was, most of the spots I found myself oil painting in were in the Provo River Valley near the good fishing waters of the Middle Provo River. No maples or aspen there, just the willows and cottonwoods of the river bottoms and long stretches of meadow. Fall color was obvious but not shouting at me.

I left home with about twenty panels primed with either a rusty red or a medium gray. It was good having the choice of grounds. Evening subjects turned out better on the gray panels. You can see a bit of the red ground showing on the image above. In the image below I used a gray panel. It turned out that not having to deal with the red ground helped me catch the mercury-like color of the water as it looked long after the sun had faded. In fact, I was doing this painting almost in the dark by the time I finished. The red you see around the mountains in the background are bits of the drawing I did on the panel using some thinned down alizarin crimson.

These two images were painted at the same site. The top one looks south toward giant Mt. Timpanogos, the second one, immediately above, looks north along a lower section of the Middle Provo.

I came home with thirteen paintings. I'm still trying to get to 200.

Thompson Lake Again, and More on Grounds

Here is another small painting done the second afternoon I was at Thompson Lake. It is the same scene as the last post but the view is widened to take in more of the shore. Again, it was done on panel primed with clear acrylic gesso tinted with cadmium red.

Since my aim is to do 100 oil paintings as quickly as possible I decided to use up some pieces of bookboard that are about 1/8" thick. Too thick for the books I make but perfect for doing the little paintings. Most are now primed the warm cadmium red. The red is a good ground color since many of the paintings will be landscapes that are predominantly green. Red, the complement of green makes a nice vibration in those spots that are not covered with paint.

Some panels are primed with white acrylic gesso to which I have added a bit of pumice. The white is appealing since a painting can be blocked in with the color (or its complement) of the subject. As a pastel artist I almost always use white Wallis sanded paper. My process is to block in the painting with pastel and then wet it down "melting" the pastel into the paper. You could get the same effect by doing a watercolor underpainting. At any rate, there is something familiar about looking at a fresh, white panel. And the color just seems to sparkle on it. I have been using the same process with the oils by putting down an underpainting of thinned paint.

Other panels have been primed with the clear gesso (untinted), that way I end up with the natural, gray color of the bookboard. Having a medium value gray makes it easy to establish the values in a painting since your eye is not fooled by the stark white of the ground if that is what you are starting with. I tried one painting on this gray panel today. When I get it scanned I'll post it.

Painting and Fishing on Thompson Lake

It was a beautiful day to paint. My husband, Eric, and I spent two afternoons at one of his favorite trout lakes last week. Located off the Gunflint Trail in northern Minnesota, Thompson Lake is one of those catch-and-release lakes that is small enough for me to have several good views to choose from. Today the sun was getting low and I turned my easel toward the west.

The sun was streaming in through the trees. A shaft of light was coming through the bushes near the bottom of this painting and the scene just glowed. Next time, if I try this view again in my studio, I'll jack up the yellow in the sun lit areas.




This painting was done on a panel primed with acrylic gesso tined with cadmium red. Most of the red is obliterated except for a some along the top and a tad near the bottom. It would have been better to leave a bit more. I've done about 25 paintings since my worshop in August. The practice helps!

And yes, my husband really does fish while I paint. I took this shot just before I packed up by easel. That speck near the far shore in Eric in his float tube with fly-rod in hand.

Two More Oranges

Lots of painting and drawing this week. The oils are getting easier and easier to handle. But it was not without many frustrating moments.

When things were not going well and I was getting discouraged I did two things: I went back to what I can do and that is to draw in graphite. Having some successes with a medium I know well gave me the lift I needed to try again with the oils. Second, rather than paint outside and deal with the changing light, I set the orange up in my studio where I had control over the lighting. Same subject as the last post: an orange on orange paper.


Then I had yet another go at the orange:

In each painting there is a lesson learned.

Yesterday I was back painting outside in the park across the street. Now with the added "brush miles," i.e practice, dealing with changing light went better than the last outside session.

The take-away is: keep painting. And, when all else fails, eating a little chocolate doesn't hurt. Or, to celebrate success, have a chocolate. For those who didn't remember--yesterday, September 4, was World Chocolate Day.

Traveling Light??

I have a habit of carrying some sort of art supplies with me at all times. You never know when inspiration will strike, or you see something that absolutely must be captured by a drawing or little painting. So, if these are supplies in my purse of pocket, how do I keep the weight managable?

I learned some great tricks from my friend Roz Stendahl who gave me the two little mini palettes you see below. One is for gouache, the other for watercolor. The quarter in the photo shows how tiny they really are. One of these palettes along with a Niji waterbrush, a section or two of paper towel and some pieces of watercolor paper or a tiny sketchbook and you are equiped. The gouache palette carries enough paint for many outings. In my earlier blogs you can see some of the small paintings done with these supplies.

The tiny palettes have gone a long way to replacing the larger traveling palettes below. I continue to use these larger ones when I go away for a week or two and want to have some backup. I still take the tiny palettes and use the bigger ones for when I am settled in my hotel room or am at the cabin's kitchen table. They have the advantage of having more mixing space. Part of the tiny watercolor palatte is visible on the right so you get a sense of just how small it is.

My bigger black windsor Newton "traveling" palatte just sits in one of my supply drawers. It is just too heavy.

So, what is this seeming fixation on simple, small, light weight painting gear? After all I am a pastel artist and lug around an outdoor easel and a brief case full of pastels and the various paraphanelia that goes along with them. The answer: my shock at discovering how heavy oil paint is!

I'm scheduled to take a workshop next week in Taylors Falls, Minnesota from Marc Hanson. The plan (when I signed up) was to push my pastels to another level. Marc Hanson is a wonderful pastelist. Some years ago I was stopped dead in my tracks by a pastel painting he did of three trees shrouded in fog. But, as the weeks went by I began to wonder if this was the opportunity to return to oils. Bottom line: I decided to order some oils.

So, out came the catalogues. I thought I did my research fairly well about brands and pigments but I forgot to think about what is now obvious: cadmuim paint is heavy! I knew that if I was going to give oils a try I better have plenty of paint and it seemed like a good idea at the time to order the paint in a size that gave me the best value. Voila! The 200 ml tubes were a much better deal so I orderd them. Yipes! When the boxes arrived on my doorstep I could hardly lift them.

Even loading up tubes of watercolor and gouache when I go to the cabin did not prepare me for the weight of the oils. But I had not really factored in the relative size of the tubes either--20 ml watercolor and gouache tubes versus 200ml oil tubes. Gosh, they didn't look that big in the catalogue....

"Not to worry, we will be close to our cars when we go out to paint and you are wise shopper to get the bigger tubes (I paraphrase)," Marc Hanson graciously responded to my e-mail wondering if I should be concerned about schleping the giant tubes.

The whole episode has been good for some hearty laughs and right now carrying around the pastels seems awfully easy.